Christian Zucconi’s (Piacenza, 1978) interest in sculpture developed early as, when he was just twelve, he began visiting Carrara and the “Corsanini Laboratory”. In 1998 Piero Molinari organized his first personal show and in 2002 Stefano Fugazza edited his first monograph. In the following five years he was mainly concerned with the creation of large public monuments. In 2007 his personal exhibition was curated by Flavio Arensi at the Castello Visconteo in Legnano. At the end of 2007 he invented the kenoclastic technique – a technique which involves the destruction of a completed work, its emptying and subsequent re-composition.
Cena in Emmaus
Misonne, Léonard (1870-1943), Belgian pictorialist photographer. Born in provincial southern Belgium into a prosperous family, Misonne studied mining engineering, but never practised it, preferring to devote himself entirely to photography from 1896 onwards. A prominent presence in the first wave of pictorialism, Misonne travelled widely and learned the bromoil process from Émile Constant Puyo in Paris in 1910. As a figurehead of the pictorialist movement in Belgium, he acquired a lasting reputation for landscapes, bucolic and timeless, a genre he would exploit throughout his life. Misonne’s work tended to express a conservative aesthetic, although the later townscapes outgrew the underlying anecdotal sentimentality present in some of his earlier views. The images are characterized by a masterly treatment of light and atmospheric conditions, as summed up in Misonne’s credo ‘Le sujet n’est rien, la lumière est tout’ (‘The subject is nothing, light is everything’). While the subject matter remained more or less constant over half a century of activity, Misonne’s chosen medium evolved towards more manipulated processes—from carbon printing, including the Fresson process, until 1910-15, by way of bromoil until 1930-5, up to a final phase using mediobrome.
Soleil et brouillard
Sortie de la gare, Naumur
Sur la Glace
Au passage d’eau
Silhouette dans la forét
Martin van Maële (born as Maurice François Alfred Martin van Miële; October 12, 1863 – September 5, 1926) was a French illustrator of early 20th century literature. He is renowned for his work in the field of erotic literature. He was born in the commune of Boulogne sur Seine, once an important industrial town, near Paris.He died on September 5, 1926, aged 62, and was interred in the cemetery of Varennes-Jarcy.
Little is known about the life of Martin van Maële. He worked at Brussels as well as Paris, and his best known work – consisting among other things of an illustrated edition of Paul Verlaine’s poems – was published in small, secretive editions by publisher Charles Carrington. The prints are considered both humoristic and satirical, sometimes cynical. Van Maële’s career is said to have really began with his illustrations for H. G. Wells in Les Premiers Hommes dans la Lune (or The First Men in the Moon), published by Felix Juven in 1901. The title later became the classic 1902 sci-fi silent film called Le Voyage Dans La Lune, produced by Georges Méliès. Van Maële also illustrated Anatole France’s Thais, published by Charles Carrington, also in 1901. The following year, and occasionally thereafter, van Maële worked as an illustrator for the Felix Juven’s French translations of the Sherlock Holmes series.
The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833-36. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is also one that Cole returned to frequently, such as in his The Voyage of Life series.
The series comprises the following works: The Course of Empire – The Savage State; The Course of Empire – The Arcadian or Pastoral State; The Course of Empire – The Consummation of Empire; The Course of Empire – Destruction; and The Course of Empire – Desolation. The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man. A direct source of literary inspiration for The Course of Empire paintings is Byron’s Childe Harold’s Pilgrimage (1812–18). Cole quoted this verse, from Canto IV, in his newspaper advertisements for the series:
There is the moral of all human tales;
‘Tis but the same rehearsal of the past.
First freedom and then Glory – when that fails,
Wealth, vice, corruption – barbarism at last.
And History, with all her volumes vast,
Hath but one page…
Maurice Tabard (1897-1984) Avant-garde photographer Maurice Tabard (born in Lyon) experimented with a number of techniques, including solarization, double exposure, and photomontage. Tabard’s father, a silk manufacturer and amateur photographer, left France with his son in 1914 to work in the silk mills of Paterson, New Jersey. The young Tabard worked as a silk designer during the day and studied painting at night. A few years later the Tabards moved to New York City, where Maurice studied briefly at the New York Institute of Photography.In 1922 Tabard joined the staff of the Bachrach Studio as a portrait photographer and worked in a number of cities, including Baltimore, Washington, D.C., and Cincinnati. Six years later he returned to France, establishing himself in Paris as a freelance portrait, fashion, and advertising photographer. During these years he became associated with Man Ray and René Magritte and began experimenting with solarization and double exposure. In 1929 his photographs were included in the Film und Foto exhibition of avant-garde photography and film in Stuttgart. Throughout the 1930s-50s Tabard continued to produce his own experimental work while pursuing various commercial jobsfor Deberny-Peignot publishers, Pathé Films, Gaumont Films, the French government, Harper’s Bazaar in Europe and the United States, and Paul Linwood Gittings Studio, New Yorkand worked as a freelance photographer from 1948-65. In the mid-1960s he retired from photography and in 1980 moved to Nice.
Photomontage (Standing Nude With Superimposed Face)
Room with Eye, 1930.
Sans Titre, 1930.
Double Exposition, 1930s
L’oeuil et la plage
Maurice Tabard (12 de julio de 1897 – 23 de febrero de 1984) fue un fotógrafo francés. Comenzó a estudiar para músico pero no tuvo éxito, con diecisiete años su padre lo matriculó en el Instituto de Fotografía de Nueva York y comenzó a trabajar en esta ciudad. Regresó a París y se dedicó a la fotografía de modas colaborando con revistas como Le Jardin des Modes, Vu, Vogue y Bifur. En estos años conoció a Magritte y en 1931 realizó su fotografía más conocida que se titula Composition (surimpression) que se considera un ejemplo de trabajo surrealista.2 En 1933 realizó su primera exposición y sobre esa época conoció a Brassaï, André Kertész y Man Ray. Su obra se encontraba influenciada por la Nueva Visión y utilizaba recursos como la solarización, el fotograma o la sobreimpresión
Sans titre 1932
Sans titre 1931
Fashion for Balmain 1949
Max Bucaille (1906-1996) He was born in Sainte Croix-Hague next to Cherbourg, and led a career as a mathematics professor while also dedicating his life to the search for “the real place” at the end of a daydream – a daydream dear to his favorite philosopher, Gaston Bachelard. He created poems and surrealist collages from 1930, and collaborated with artistic reviews and publications from 1936 to 1939.
Upon his return from captivity in Czechoslovakia, he became a member of the Surrealist Revolutionary Group from 1947 to 1949 with Noel Arnaud, Jean Laude and Christian Dotremont. While continuing to pursue the art of collage, he enriched his palate with painting and sculpture. He created a new pictorial technique: “photopeinture” with much time spent in a darkroom
His meeting with Emile Malespine gave rise to a friendship, and many the two would exchange and compare many techniques. Bucaille regularly went to Clairefontaine in the Yvelines to visit the former house of Malespine, and it was in this magical safe haven that he would create his paintings and sculptures.
He was a founding and prominent member of the international group “Fantasmagie”. He is considered one of the masters of fantastical realism. He was also a member of the Collège de Pataphysique.
Creator, seeker, tireless experimenter, he never stopped perfecting his techniques. Always moving, much like his work, with the constant desire to innovate, to surpass himself, putting everything in question, life, his work…From http://www.maxbucaille.com
Nació en Sainte Croix Hague cerca de Cherbourg el 30 de junio de 1906, profesor de matématicas en el Val de Marne, dedicó su vida a la busque da del« verdadero lugar » al final de un ensueño, àquel ensueño tan grato a Gaston Bachelard, su filósofo preferido.Autor de poemas y colages surrealistas a partir de 1930 participó a revistas y publicaciones en los años 1936-1939.A su vuelta de captividad en Checoslovaquia integró el gruposurrealista revolucionario de 1947 a 1949, con Noel Arnaud, Jean Laude y Christian Dotremont. Al mismo tiempo que se dedicaba a los colages fue enriqueciendo su obra con pintura y escultura, creando nueva técnica pictural la foto pintura con numerosos experimentos en càmara negra. De su encuentro con Emile Malespine nació una amistad, intercambios y confrontaciones de técnicas.
Bucaille iba a menudo a Clairefontaine en las Yvelines en la antigua casa de Malespine, en aquel remanso de paz, lugar màgico en el que nacieron numerosas pinturas y esculturas. Fue uno de los fundadores y el màs eminente representante del grupo internacional« Fantasmagía » Se considera como uno de los maestros del realismo fantàstico. También fue miembro del colegio de Patàfisica
Creador, investigador y experimentador incansable, ne dejó de mejorar sus técnicas. Siempre en movimiento como su obra, con aquella voluntad insaciable de innovar, de sobrepasarse y ponerlo todo en tela de juicio, tanto su vida como su obra.
Jakub Schikaneder (February 27, 1855, Prague – November 15, 1924, Prague) was a Czech painter.Schikaneder came from the family of a German customs office clerk. Despite the family’s poor background, he was able to pursue his studies, thanks in part to his family’s love of art; an ancestor was Urban Schikaneder, the elder brother of the librettist Emanuel Schikaneder. After having completed his studies in Prague and Munich (1871–1879), Schikaneder, alongside Emanuel Krescenc Liška, was involved in the furnishing of the royal box in the National Theatre in Prague; however, this work was lost in a fire in 1881. After his work in the National Theatre, Schikaneder travelled through Europe, visiting Germany, England, Scotland, The Netherlands, Switzerland, Italy and France. From 1891 until 1923 he taught in Prague’s Art College. Schikaneder counted amongst those who admired the Munich School of the end of the 19th century.
Schikaneder is known for his soft paintings of the outdoors, often lonely in mood. His paintings often feature poor and outcast figures. Other motifs favoured by Schikaneder were autumn and winter, corners and alleyways in the city of Prague and the banks of the Vltava – often in the early evening light, or cloaked in mist.
In the morgue
La mort rouge
Murder in the house
Old Prague at night
The Last Journey
Biografia en castellano: